1972 年，23岁的Todd凭借这张公认的摇滚杰作成为了国际摇滚巨星。这张摇滚史上最出色的双专辑之一的作品"Something/Anything?" 中倾注了Todd个人的灵感，才华和汗水。专辑被Todd分为四部分，前三部分完全由Todd一人全包全揽了创作，演唱，演奏和制作的繁重工作，而在第四部分则邀请了很多专业乐手助兴演奏，还有Randy Brecker和Micheal Brecker(The Brecker兄弟真是赶场无数啊。。。。。。)在管乐部分的增色。 　　  　　专辑中包括了Carole King式的"I Saw the Light"，Randy Newman式的"Piss Aaron"，Van Morrison全盛时期风格的"Dust in the Wind"，Zappa口味的"Some Folks Even Whiter Than Me"，强烈启发了"Boston"这样乐队的"Couldn't I Just Tell You"(我自己这样觉得)，传统民谣的"Hello It's Me"，Motown风味的"Wolfman Jack"，古怪奇特的"I Went to the Mirror"，"It Wouldn't Have Made Any Difference"(R&B)，，"Sweeter Memories"(蓝眼睛Soul)，"Breathless"(电子实验乐)，"Black Maria"(迷幻摇滚)，"Little Red Light"(早期重金属)，"Slut"(硬摇滚)，还有让我难以形容的美妙动听的"Cold Morning Light"，而且通篇作品常常间或弥漫拉丁乐及Jazz的氛围"It takes two to tango"。。。。。。这张专辑不仅可以看作一册装帧印刷精致的流行乐百科全书;更是一场音乐领域个人才华，野心与探索的极限挑战;一程所有人内心生活和思考的隐秘探索之旅;一席绝妙旋律听觉的完美夜宴。 　　  　　简言之，这是一张货真价实的Masterwork。 　　  　　这张专辑在滚石杂志选出的500张历代最强专辑中排名第173位。 　　  　　Others had recorded one-man albums before Todd Rundgren, most notably Stevie Wonder and Paul McCartney, but with Something/Anything? he captured the homemade ambience of McCartney with the visionary feel of Music of My Mind, adding an encyclopedic knowledge of pop music from Gilbert & Sullivan through Jimi Hendrix, plus the crazed zeal of a pioneer. Listening to Something/Anything? is a mind-altering trip in itself, no matter how many shamelessly accessible pop songs are scattered throughout the album, since each side of the double-record is a concept unto itself. The first is "a bouquet of ear-catching melodies"; side two is "the cerebral side"; on side three "the kid gets heavy"; side four is his mock pop operetta, recorded with a full band including the Sales Brothers. It gallops through everything -- Carole King tributes ("I Saw the Light"), classic ballads ("Hello It's Me," "It Wouldn't Have Made Any Difference"), Motown ("Wolfman Jack"), blinding power pop ("Couldn't I Just Tell You"), psychedelic hard rock ("Black Maria"), pure weirdness ("I Went to the Mirror"), blue-eyed soul ("Dust in the Wind"), and scores of brilliant songs that don't fall into any particular style ("Cold Morning Light," "It Takes Two to Tango"). It's an amazing journey that's remarkably unpretentious. Rundgren peppers his writing with self-aware, self-deprecating asides, indulging his bizarre sense of humor with gross-outs ("Piss Aaron") and sheer quirkiness, such as an aural tour of the studio at the beginning of side two. There are a ton of loose ends throughout Something/Anything?, plenty of studio tricks, slight songs (but no filler), snippets of dialogue, and purposely botched beginnings, but all these throwaways simply add context -- they're what makes the album into a kaleidoscopic odyssey through the mind of an insanely gifted pop music obsessive.